ABSTRACT
Around the early 2000s when i first came to work on the subject of contemporary Hungarian women artists, i encountered a more or less solid professional consensus: a discourse of lack. 1 It proffered the credible insight that in Hungary there was no grassroots feminism in the 1960–70s that would compare to the Western movement of the same period, and many of the related intellectual discourses were not widely endorsed either. The assessment then stalled here to conclude, therefore, that no meaningful art practice had developed that could be interpreted from a feminist perspective—until, in the mid-1990s, a younger generation of artists could find inspiration in “international” feminist discourses which finally became available after the Iron Curtain was lifted. 2 In the midst of this vast lack there stood Hungary’s only self-identified feminist artist: Orsolya, a.k.a. Orshi Drozdik.
